Mapping gestures in the creation of intangible artworks

'Mapping gestures in the creation of intangible artworks' considers that what is normally understood as an artwork, such as a painting or music, is in fact a tangible thing experienced via excitation of the physical senses. It is the perceiver's interpretation of this excitation that creates their unique experience of the object, and this interpretation creates the artwork. <br><br>Rather than a linear, single-trajectory interaction from the art-maker to the art-perceiver, “Mapping gestures ...” hypothesises that this relationship is best understood as having the qualities of a Möbius strip, in that the maker and perceiver are engaged in an interaction in which each are simultaneously creator and perceiver. <br><br>'Mapping gestures ...” has two parts: the three art-objects, MOTION, SPEECH and VISION, and the accompanying exegesis, which discusses the ideas and processes that informed their development. Its process is to explore the making of these art-objects and the discoveries that that generates. These discoveries in turn influence the process of creating the art-objects, which consequently leads to more discoveries.<br><br>MOTION, SPEECH, and VISION are designed to engage the perceiver both physically and mentally, and to represent that engagement through simultaneously showing the result of their physical and their mental interactions with it. <br><br>'Mapping gestures in the creation of intangible artworks' coalesces a bricolage of diverse aspects, including: concepts and theories relating to art making and communication, various art works, and art making concepts and processes, into a set of art-objects that overtly, fundamentally, and in essence rely on the interaction and interpretation of the perceiver in order to become artworks.